What Do Economists Contribute?

What Do Economists Contribute?
Average customer rating:

A superb introduction to an esoteric subject.

A timely book that needs to be read by all.

What Do Economists Contribute?

Manufacturer: Palgrave Macmillan
ProductGroup: Book
Binding: Paperback

General | Popular Economics | Business & Investing | Subjects | Books
Theory | Economics | Business & Investing | Subjects | Books
ASIN: 0333777603

Customer Reviews:

A superb introduction to an esoteric subject........2000-03-04

Economists deal in an esoteric subject that is often beyond the grasp of the general public, who are often confused with the chronic presentation of conflicting opinions by credentialed and experienced economists on almost every economic issue of our day. In What Do Economists Contribute?, editor Daniel Klein has compiled outstanding essays from nine great economists of this century (Friedreich Hayek, Ronald Coase, Thomas Schelling, Gordon Tullock, Israel Kirzner, Frank Graham, William Hutt, Clarence Philbrook, and D. McCloskey) to address the existential issue of "how do we contribute to human betterment?" from an economists perspective. the result is a lively, informative, engaging discourse that provides insight and a significant clarification of the role the evolving science of economics plays in our understanding of why things happen in the ways that they do. What Do Economists Contribute? is highly recommended reading for lay readers as well as students of economics, and has a great deal of substantive value for even experienced, practicing economists as well.

A timely book that needs to be read by all........1999-06-29

Daniel Klein, Professor of Economics at Santa Clara University, brings together some of the best minds in economics on a very important and unsettled issue: what do economists contribute to society? In today's world, most economists do not care about educating the general public as to how government policies work or how economics can address and solve many social problems; rather, they are concerned with demonstrating their mathematical "wizardry." Unfortunately, economists who can explain principles to the layman are not taken seriously; their work is viewed as not being rigorous enough. The "Everyman," to use Klein's term, needs to understand the beauty and power of economics. If economists stopped preaching to the choir and stopped their quest to be known as great mathematicians, then maybe people would actually come to know the power of economic reasoning. This book is enlightening and should be read by economists and noneconomists alike.

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What Do Economists Contribute?
Daniel B. Editor Klein
Manufacturer: MACMILLAN PRESS LTD
ProductGroup: Book
Binding: Hardcover

General | Popular Economics | Business & Investing | Subjects | Books

Theory | Economics | Business & Investing | Subjects | Books
ASIN: 0333739620

A National policy of "no net loss" of wetlands : what do agricultural economists have to contribute? (SuDoc A 93.44:AGES 91-49)

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A National policy of "no net loss" of wetlands : what do agricultural economists have to contribute? (SuDoc A 93.44:AGES 91-49)
U.S. Dept of Agriculture
Manufacturer: U.S. Dept. of Agriculture, Economic Research Service, Resources and Technology Division
ProductGroup: Book
Binding: Unknown Binding
ASIN: B000108ZPG

Business Environment and Public Policy: Implications for Management and Strategy Formulation
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Business Environment and Public Policy: Implications for Management and Strategy Formulation
Rogene A. Buchholz
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Hardcover

General | Business & Investing | Subjects | Books
Systems & Planning | Management & Leadership | Business & Investing | Subjects | Books
ASIN: 0130954578

Book Description

Advances in biochemical techniques are revolutionizing the study of invertebrate ecology. Their application to pest problems is generating detailed information on the population genetics of pests, pest-predator relationships and interactions between pests and their environment.

Book Description

The international symposium on Ruminant Physiology (ISRP) is held every five years and is the premier forum for the presentation and discussion of advances in our knowledge of the physiology of ruminant animals. The ninth ISRP was held in South Africa in October 1999. This book brings together edited versions of the keynote review papers presented at the symposium. Contributors are the leading world authorities in their subject, drawn from all continents of the world. The book represents a definitive statement of the current knowledge in this subject.

Customer Reviews:

Iused it for a lit review.......2007-08-11

This book is the conference proceedings of the ISRP in 1999, the 9th, I believe. The individual papers that I needed (feed intake, peptide uptake) are well written and useful.

Ruminant Physiology: Digestion, Metabolism, Growth and Reproduction

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Ruminant Physiology: Digestion, Metabolism, Growth and Reproduction
P. B. Cronje
Manufacturer: Oxford University Press
ProductGroup: Book
Binding: Hardcover
ASIN: B000MV4EZ4

Basketball Defense Sourcebook (Lessons from the Legends)
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Basketball Defense Sourcebook (Lessons from the Legends)
Jerry Krause , and Ralph L. Pim
Manufacturer: Triumph Books
ProductGroup: Book
Binding: Paperback

General | Basketball | Sports | Subjects | Books
General | Basketball | Coaching | Sports | Subjects | Books
Defense | Basketball | Coaching | Sports | Subjects | Books
General | Sports | Subjects | Books
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Lessons From The Legends: Basketball Offense Sourcebook

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Blackboard Strategies: Over 200 Favorite Plays From Successful Coaches For Nearly Every Possible Situation (Winning hoops)

Building a Man-To-Man Defense (The Art & Science of Coaching Series)

ASIN: 1572437197

Book Description

Written for both coaches and fans who love the game, this extraordinary book features the coaching insights of 29 Naismith Memorial Basketball Hall of Fame coaches, including Mike Krzyzewski, Dean Smith, Pat Summitt, Bob Knight and John Wooden. Each coach has his own section consisting of his legacy with bullet points highlighting their contributions to the game, followed by their biography, a scouting report and, most importantly, lessons and instruction, accompanied by easy-to-read diagrams.

Book Description

Blockbuster Plots Pure and Simple (BBP) shows plot rather than talking about it. Using two unique step-by-step visual tools for developing and deepening scenes and plot, BBP shows how the pros layer three distinct yet overlapping plotlines - Character Emotional Development, Dramatic Action, and Thematic Plot. When the dramatic action changes the character at depth over time, the story becomes thematically significant.

BBP uses the Scene Tracker as a visual tool to track the seven essential elements of scene, side-by-side from the beginning to the end of any project. BBP uses the Plot Planner as a visual place to plot out the action, character and thematic plotlines. Both parts are intended as a step-by-step interactive guide for writers interested in maximizing their scenes and providing depth to their stories.

BBP is unique because of its hands-on, down-to-earth multi-sensory approach to learning. BBP provides specific activities linked directly to each writer's individual project. The book is divided between explanation and activity forms.

By analyzing scenes and plots from classic and contemporary writers such as Twain, London, and McCarthy, writers learn how to add a dynamic, effective twist to their work.

BBP provides writers with the tools and resources to get from where they are - stuck and unable to begin or stuck and unable to finish - to where they want to be - holding a finished project. BBP effectively demonstrates the relationship between scene and plot and explains the principles involved in the art and craft of developing sizzling scenes and compelling plots and story design. BBP offers techniques to help writers maintain faith and enjoy the process of creation.

Customer Reviews:

A Great Tool to Have!.......2007-09-30

This is my first time giving a review for a book. I was compelled to do so because my expectations for the book were high based on past ratings. Was the book and the author's tools for plotting helpful? Yes and No. Let me explain my take on it. The scene tracker, although simplistic, listed some areas that one should chart in order to be aware of gaps that one may have in certain scenes. I especially liked the concept of tracking the emotional change and how important it is to have "change" and "conflict" in each scene or it needs to be reevaluated or discarded. I give the book 2 stars just for learning that aspect/tool in scene tracker. There is more to scene tracker, however, I will not give it away. You'll have to buy the book. The scene tracker makes the purchase of the book worth it.

On Plot Planner, the only thing I found helpful was connecting individual scenes together above & below the plot planner to make a line if only each consecutive scene can be connected thru cause and effect. If not, then again, those scenes need to be reevaluated or discarded. For bringing that "Aha" into light, I give the book another star.

However, the book notes under the PLOT PLANNER section on how to plot THEME and EMOTIONAL Development. The author only records those aspects under scene tracker. SHE DOES NOT track it under the PLOT PLANNER. Unless I failed to understand her diagrams; theme and emotional development are not tracked on the PLOT PLANNER. She refers back to her SCENE TRACKER for those 2 aspects. So in essence, it is not the PLOT PLANNER that is tracking them but Scene tracker. I guess that would be fine with THEME, as you can make a connection with all the Theme points for each scene and come out with an overall sense of what the theme is or what scenes support the theme. But I fail to understand how the Emotional Change in each scene can demonstrate the protagonist's character arc or journey of emotional changes on the whole through the scene tracker (although it works for each individual scene). But the author's premise is that it is tied into the PLOT PLANNER and I didn't see where she connected those aspects into that tool.

What is recorded under PLOT PLANNER is just a visual of individual scenes divided by the beginning, middle, and end sections of the story. All in all, still a valuable tool, but I already had some knowledge of this.

However, throughout the book, the author spreads out tidbits of basic information on plot and the such which is helpful for the novice which I would have liked if she had delve into more detail. She tickled my palette for more knowledge.

I guess the supposed beauty of the book lies in it's simplicity. However, she gets off tangent in several areas (saying that she has gotten ahead of herself) and if you seek clarification of what she is talking about she refers to you to her DVD or website or she just barely touches the surface on it. In fact, almost every other page, along the side bars, her DVD is mentioned. The book at times seems like a disguise for marketing her DVD. I understand that authors need to self promote, but the amount of self promotion in this book became distracting. Perhaps just putting a footer on each alternate page with her website address would have been more appropriate than on the sidebars.

In addition, she left alot of white space on the sidebars which could have been utilized more efficiently to dispell more information.

If anyone has seen her dvds, please post a review and let me know how you liked it. I'm tempted to buy one, hoping that she does go in deeper with her tools. I think she made a very good attempt to what she was trying to accomplish when she started the book with the SCENE TRACKER (EXCELLENT tool that can be really tailored to suit your needs and she does emphasize that). But once she got into the PLOT PLANNER, I think she needs to clarify it a bit more and make the examples at the appendix more coherent in the sections of theme and emotional development.

Overall, its a good book to have for a reference. The scene tracker is excellent and having more developed examples of the plot planner with more detailed explanations would have been golden.

Her website and Blog has a wealth of information that is basically a reiteration of about 1/3 of her book.

I have emailed her requesting clarification on some of the above and will update my review according to her response.

***********UPDATE - October 12th***********

Martha Responded to me on her Blog! She explained how the Character's Emotional Development & Theme can be tracked through the plot planner. It was so simple that I simply overlooked it. Along with her website, her book delivers! It is great to see an author who supports what they have written in such expedited fashion. If Amazon would give me the ability, I would upgrade my rating from 3 to 4 stars. Not 5 you may ask? Well, the self promotion needs to be cut a bit (lol) and it would be more helpful to have color examples of her tools to see how she tracks the different aspects of plot, and for her to expand a bit more on what she delves in the book (like how she does on her site). There's just so much good stuff in her book, but she doesn't go into it as deeply as I would have liked. But overall, I am very pleased. Any further explanation you might need, you can find on her site and blog. Her tools are excellent. I highly recommend.

2 other books that I would also recommend to supplement with the Plot Planner is Dara Mark's "Inside Story: Power of the Transformational Arc". Also, a great book on Endings which also gives an overview to story structure is Drew Yanno's "The 3RD Act". It is simple and to the point and the 30 question checklist at the end of the book makes it a good investment!

Happy Plotting!

No plot is a BIG problem.......2007-04-08

Any artist worth their salt has to have a solid working understanding of the rules of their craft. A painter has to know about brushes, colors, shapes, lines and light. An oboe player has to know how to cut a reed in addition to learning to read music and play with others in the orchestra. For some reason, though, writers seem to start out thinking they don't need to know anything more than how to put words together, that the story will simply come out of their imaginations full-fleged and wonderful.
Baloney.
Whether you're just starting your novel, or working on the third draft, you need this book. Ms. Alderson has a great system to teach writers the complex struture of good plots. She's also an incredible teacher. If you get a chance to come to California or to attend a writers conference where she'll be speaking, I highly recommend her class.

Midwest Book Review, March 2007.......2007-03-02

Have you ever been deep in the writing of a novel - only to discover that you've lost the thread, that the plot doesn't square up the way you thought? Do you find yourself swimming in deep water - or perhaps completely over your head - when you think about plot? Even worse, have your initial readers told you that your plot doesn't make sense? If so, this is the book for you.

Whether you plan your plots in advance or improvise as you go along, Martha Alderson's two major tools, the Scene Tracker and the Plot Planner, will improve your overall writing product. By the time you finish this book, you'll have learned seven major ways to improve your novel, and you'll have a much better grasp of the plot and structure of any book you choose to create.

With the use of Scene Tracker, Alderson artfully explains how to break down your work to identify scenes, then determine when to use scene and/or narrative and decide how to keep track of flashbacks, the timeline, character development, goals, conflict, theme, and change, all in an organized and effective manner.

In the second half of the book, the Plot Planner is used to work through beginning, middle, and end, with careful focus upon cause and effect, character emotional development, and thematic significance. Step-by-step guidance is provided. To demonstrate the principles throughout, the author uses examples from the work of authors like Ursula Hegi, Cormac McCarthy, and Billie Letts. Appendices are included breaking down scenes and plot from the work of Mark Twain, Ernest J. Gaines, and John Steinbeck.

This book will assist the budding new writer and the already-published author. It's easy to follow, the tools are accessible, the text is filled with good advice, and the book is laid out so that there is plenty of space to make notes or to use it as a workbook. Students of the Craft need this book, but writing teachers will also find the book useful. Highly recommended.

A Great Tool ...Even For a Plodder.......2007-01-27

I'm not much of a plotter...but more of a plodder. I'm prone to just getting all my thoughts down with no clear idea of how these ideas fit into the big picture--or even if they do. But one week, my computer crashed and I couldn't just write stuff. I took out Martha's book and gave it a try. Martha's book is not only full of inspiration, but it was helpful to see all my ideas charted out into a big picture.

A Tremendous Tool for those who Author their work........2007-01-05

I doubt you will find a better tool. As many who set out to create their literary work can atest to, plotting can be a real bear. This is not always the case, there are a lucky few of us who have no problems plotting, but a great many who do. Essentially what this book does is give you a way to structure your work and plot it chapter by chapter. It by no means is the only way, but a very fine one. It also can be an aid to those of us who have published or authroed work in the past, because if allows us a new and successful approach.

The author does pitch some products here and there (and who doesn't these days), but that aside, they do have a support site that adds a greater value to the book. I own many writing and literary research books, and this is one that focuses primarily on the art of plotting, and it does so extremely well. My advise after authoring since 1975, to newer authors, authors who are stuck and even established authors, is this is a tool that can only help. Since I find there is never enough writing books, I highly recommend this as you will never know some time if you are stuck in your literary endeavors, that a chapter might help you out, and that is certainly much cheaper than hiring outside help or worst yet, doing nothing!

Average customer rating:

Practically necessary
Same-o, Same-o
For The Serious Writer Of Novels This Is An Excellent Book
a little something extra
Another book on writing --nothing special

Writing the Blockbuster Novel
Albert Zuckerman
Manufacturer: Writers Digest Books
ProductGroup: Book
Binding: Hardcover

Fiction | Writing | Reference | Subjects | Books

Writing Skills | Writing | Reference | Subjects | Books

General | Reference | Subjects | Books

General | Foreign Languages | Reference | Subjects | Books

Look Inside Nonfiction Books | Trip | Specialty Stores | Books

Look Inside Reference Books | Trip | Specialty Stores | Books
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How to Write a Damn Good Novel, II: Advanced Techniques For Dramatic Storytelling
Writing the Breakout Novel

ASIN: 0898795982

Amazon.com

Writing the Blockbuster Novel is part fiction-biology textbook, part cookbook. Its author, Albert Zuckerman, dissects the commercial bestseller, then provides recipes for each discrete element. Settings, according to Zuckerman, should be "topical, trendy, 'sexy'"--either newsworthy hotspots or uncharted territory--and main characters, à la Don Corleone and Scarlett O'Hara, should loom larger than life. Like Hollywood blockbusters, "mega-books" should be high concept, with high stakes. Zuckerman discusses point of view (there should be multiple), character relationships, plotting, revision, and especially outlining. "Every mega-book with which I've been involved was planned and replanned and planned again," he confides. Indeed, a 63-page chapter here features four versions of Ken Follett's outline for The Man from St. Petersburg and an analysis of each. Still, no matter how good your outline, remember that there's a learning curve. A beginning novelist writing a successful blockbuster novel, says Zuckerman, is about as likely as "a high school athlete trying to play with the Dallas Cowboys." --Jane Steinberg

Product Description

Ken Follett and Eileen Goudge, among others, have something common: They have mastered the craft of building the compelling novels that appear on bestseller lists around the world. And here Albert Zuckerman, agent and editorial advisor to many successful authors in every genre, discloses the somewhat hidden nuts and bolts of what makes this type of book tick, and shows how you, too, could write a novel that might sell in the millions.

Customer Reviews:

Practically necessary.......2007-04-21

I'm torn. Normally, there are books I recommend to absolute beginners, & books I push on those who are about ready for publication. Zuckerman says more than a few things that someone who's just starting out should really ponder, but most of the book is for Serious Students.

In any case, please understand that Zuckerman's agenda is right there in the title: the "Blockbuster" part. This isn't about High Art -- it's about aiming for best-seller status, & improving your chances (however marginal) of getting there.

It's not an "easy how-to" sort of book: he expects you to read, & to study, & to do some actual work at becoming the sort of writer who can turn out a million-seller. To get the most out of this, you really ought to read _Gone with the Wind_ and _The Godfather_ and especially Follett's _The Man from St. Petersburg_.

Literally half the book is taken up by only two chapters (of fourteen) on respectively "The Outline Process" and "Revision" -- the two parts most shunned by the majority of writers who expect fame &/or fortune to fall at their feet.

In particular, creating & evolving an outline is something very likely to set your teeth on edge. Zuckerman does a great job (via Follett) of showing how a good idea becomes great, & then sells a million, by putting the outline through repeated upgrade.

For that reason alone, most hopeful writers will reject it. I'm still struggling with it myself, but I have to admit that a little doggedness here has already improved an idea of mine that I knew would never be fine art, but more & more looks like it could be a great thriller.

If you want platitudes & "support" for your noble writerly efforts, or you want to write nothing but lit'ry fiction... then, yes, this is very much the wrong book for you. If you want to turn out a respectable potboiler, & maybe make it something more progressive, read & follow this book, especially those two chapters.

Same-o, Same-o.......2005-06-22

WRITING FOR STORY by Jon Franklin remains the best of the writing aids books, followed by Richard Rhodes' and Stephen King's contributions to the genre. Zuckerman's book is a fair, yeoman's effort. I think book agents ought to be up-front about liking one kind of writing over another, and that this is what it's all about. Theyre fools for what they like and sell to publishers with the same tastes. I'm a fool for John LeCarre and cannot get enough of his George Smiley character. But LeCarre violates most of what Zuckerman cautions against, as did Steinbeck, Hemingway, Cooper, Kenneth Roberts, and others. Please! No more how-to-write books by book-sellers!

For The Serious Writer Of Novels This Is An Excellent Book.......2004-11-03

I don't know what it is about most of the reviewers here of Zuckerman's book when they pan parts of it. The point for me, as a well-published writer of psychology books, is that I started training myself to write fiction five years ago with on-line classes and buying around 40 how-to-write books from Amazon, if you please. I studied them carefully. Now that I have 110,000 words done of my Jesus novel, for a re-write I needed a pro to give me all the basics again so that in tightening the plot I have the knowledge of a good agent. Ken Follet is a favorite of mine so it was important to me to see how his novels are constructed. Many thanks to Al Zuckerman for doing his very best to describe the elements of a professional novel that sells. Don't let the title distract you as superficial. This is serious crafsmanship to guide the committed writer. If you are not committed and writing you won't understand the guidance in this book. I recommend you take notes to remind yourself. It is not a weighty university writing course book but a hands on practical and inspiring book for those who do want to entertain the reading public and make money writing an exciting novel at the same time. Don't read if you are not serious enough to need help in your writing project. Wait until you are committed. Then go to town with it! --Strephon Kaplan-Williams

a little something extra.......2004-08-31

This book IS different from most others. First of all, where other authors bob and weave about exactly what you should do, Al hits you in the face with it. If you agree, fine. If you disagree, better get some other book. For instance, he lays out his value criteria: "high stakes; larger-than-life characters; a strong dramatic question; a high concept; a farfetched plot premise; intense emotional involvement between several point-of-view characters; and an exotic and interesting setting."
Really, there's the whole book for you in a nutshell. In separate chapters, he elaborates each of these elements. If you're not sure you want to base your novel on a farfetched premise? Or have larger-than-life characters? Well, you have a problem.
He also devotes about a quarter of this rather short book to discussing in detail the re-writing of one of Ken Follett's novels. If you don't want to write the type of novel Follett writes, better choose some other writing book.
Still, if you can afford one more book on writing, this one might challenge some of your assumptions and provoke you to make your novel just a little more gripping.

Another book on writing --nothing special.......2002-03-10

This is, once more a book on writing and to tell you the truth, If you've read one, you've read them all. They all get into the same stuff, Point of view, resist the urge to explain, exposition, tell the story in the now, dialogue, and many many more. If you have told yourself you are going to write a book and you wanted to get a book on the craft, then by all means get this one. It is no different than, Self Editing for Fiction Writers, The First Five Pages, How to Write a Damn Good Novel or many others out there.
SUGGESTION: Two books that helped me out, more than any other, On Writing by Stephen King and Elements of Style By Strunk and White. Read those as well as this book, and you should have enough tools in your belt to get the job done.

The Writing of One Novel, inscribed book by the American blockbuster a

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The Writing of One Novel, inscribed book by the American blockbuster a
Irving WALLACE
Manufacturer: see notes for publisher info
ProductGroup: Book
Binding: Hardcover
ASIN: B000MXJO8O

Book Description

With ruminations on drawing, color and caricature, and on the political meaning of fairy tales, talking animals and human beings as machines, Hollywood Flatlands brings to light the links between animation, avant-garde art and modernist criticism. It questions what T.W. Adorno, Max Horkheimer, Walter Benjamin, Clement Greenberg and others actually thought of popular culture. 13 color and 33 b/w illustrations.

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